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  • TheArtofScarcity(ANarratologicalStudyofSamuelBeckettsProseTrilogy)[平装]
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  • 作者:梁钫(作者)
  • 出版社:复旦大学出版社;第1版(2011年9月1日)
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  • ISBN:9787309082753

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    《The Art of Scarcity:A Narratological Study of Samuel Beckett's Prose Trilogy》由复旦大学出版社出版。

    目录

    Preface
    Acknowledgements
    Introduction
    Chapter I Scarcity of Setting
    Ⅰ. Setting Reduced to Senses in Molloy
    Ⅱ. Setting Confined to Within in Malone Dies
    Ⅲ. Setting Abstracted to Words in The Unnamable
    Ⅳ. Summary of the Chapter
    Chapter 2 Scarcity of Plot
    Ⅰ. Absence of Causality in Molloy
    Ⅱ. Lack of Closure in Malone Dies
    Ⅲ. Dissolution of Boundaries in The Unnamable
    Ⅳ. Summary of the Chapter
    Chapter 3 Scarcity of Character
    Ⅰ. Incommunicative Characters in Molloy
    Ⅱ. Underdeveloped Characters in Malone Dies
    Ⅲ. Absent Characters in The Unnamable
    Ⅳ. Summary of the Chapter
    Conclusion
    Bibliography
    Appendix Briefing Monographs on Beckett Studies

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    Based on the distinction of story and discourse, some other termsshould be further introduced to help the reader grasp the features ofscarcity of plot embodied in each novel of the trilogy. The importance ofthese terms is that the lack of the qualities described in them is exactlywhere the scarcity lies. First goes tellability, which belongs to bothaspects of story and discourse. In the aspect of story, it is "a quality thatmakes story inherently worth telling, independently of theirtextualisaztion" (Herman, Jahn & Ryan 589). It is important to noticethat whereas popular literature depends heavily on the tellability ofstories, high literature often try to make art out of the non-tellable. Agood case for the former situation is the best shortest story: "My God,said the queen, I am pregnant. Who done it?" ( Herman, Jahn & Ryan590) That story includes nearly all the ingredients the public are interestedin -- religion, the royal, sex, and mystery. And an excellent example forthe latter situation is, of course, the trilogy, especially Molloy. And thenhere is the issue of tellability in the aspect of discourse. How to attract thereader and let them think the narrative is interesting, in some way at least?In this sense, tellability concerns the form of content. In the MoUoy case,this chapter argues that tellability is determined by the reader. If the readeronly expects tellability on the story side, then Molloy provides none inboth aspects and it could be dump understandably. However, some readerdoes find the novel interesting just because it tells an untellable story in anew way, and that is, the lack of causality.
    Causality in narrative means the relationship between cause andeffect in the textual level. "A cause in narrative literature is an action orevent that directly or obliquely produces a transformation" (Herman,Jahn & Ryan 48 ). Causal connection between successive events m thestory has been most widely discussed aspect of causality. "We are madein such a way that we continually look for the causes of things. Theinevitable linearity of story makes narrative a powerful means ofgratifying this need" (Abbot Narrative 37 ). Nevertheless, in the 20thcentury, attempts have been made to deconstruct or remove causalconnections altogether. Many theorists such as Roland Barthes, MiekeBal, David Heyman, etc, clarify not only " that it is a frequentmisconception that chronological an causal sequences are alwaysinterrelated", but that in many texts, "causal ties are supplemented,parodied, or even intermittently replaced by other forms of connection"(Herman, Jahn & Ryan 49-50 ). This chapter will put causality inMolloy under discussion to see how it is denied and parodied in thenovel, thus making the novel interesting to the reader.